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PLANAM 048LP
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PLANAM presents ...et après a suite created by Ensemble Laborintus highlighting their collaboration with Luc Ferrari and well underlining the creative heights reached by the composer during the last years of his career. Laborintus, so named in homage to Luciano Berio, was an ensemble born in 1993 and dissolved in 2014, formed by Hélène Breschand (harp), César Carcopino (percussions), Sylvain Kassap (clarinets), Franck Masquelier (flutes) and Anaïs Moreau (cello). The main vocation of the ensemble was to give voice to the music of today by working in close collaboration with living and active composers, confronting current technologies, as well as practicing improvisation and musical theater. Laborintus developed a special relationship with composers, with Luc Ferrari in particular. Each creation was the occasion for an in-depth encounter. For Laborintus, the music of Luc Ferrari was always a bearer of joy, a carnal joy -- a joy of sound, and a joy of playing. There is a balance between the concrete character of the sounds that builds a poetic topology, and the virtuosity of the score, which allows a pleasurable physical involvement in the heart of sound. Bristling with stunning dances of acoustic and electronic sound, ...et après -- collecting a full two LPs worth of material -- presents the final unreleased work that Ensemble Laborintus created in collaboration with Ferrari, including "Bonjour, comment ça va?", two realizations of "Tautologos III" featuring the voice of Brunhild Ferrari and a new version of Ferrari's work "À la recherche du rythme perdu", created under the supervision of Brunhild Ferrari for harp and percussion; as well as an homage to the composer, composed by Sylvain Kassap titled "Arezzo" and Hélène Breschand "L", for flute, clarinet, cello, harp, percussion and fixed sounds. Both "Arezzo" and "L" were composed using sound archives by Luc Ferrari. This double LP also includes as a "bonus" the realization of Ferrari's "À la recherche du rythme perdu", recorded live by Hélène Breschand and eRikm in 2019. The selection of tracks and the title of the album ...et après were chosen in the spirit of a continuation with the legacy of Luc Ferrari: a balance between heritage, transmission, and continuity, transformation over time. Like Russian dolls that fit together Luc encouraged encounters and bonds are still forged today, through his music. Privately produced by Laborintus and issued by PLANAM. Gatefold sleeve; edition of 500.
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2LP
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NMN 164LP
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Capturing the four soundtracks conceived in 1975 for the multimedia/audiovisual performances at Galiéra Museum in Paris, the previously unreleased Labyrinthe de Violence stretching across two LPs represents a peek into Luc Ferrari's creations connected to his Atelier de Libération de la Musique experiences. Luc Ferrari was always keen to disrupt habits and engrained practices, to open his mind to new ways of apprehending the world of art, considering it not so much as a separate realm but as an inroad into society. In keeping with the spirit of 1968, he advocated taking part in daily life, casting a critical, but amazed, eye on the world around us, and always questioning the meaning of the occupations and preoccupations the world imposes. From the 1970s, Luc also wished to shed the solitary status of the artist, and to truly communicate with society. He thus gathered around him a group of people from different backgrounds with an aim to create, together, new ways of working and new forms of expression that would address unusual audiences rather than traditional concert audience. Having created his Studio Billig in Paris in 1973, Luc wanted to make the most of that place to promote exchanges with other artists, to share, think, and improvise together. This is what gave rise to the Atelier de Liberation de la Musique workshops, whose objective was to "Liberate music from the constraints of style and esthetics." The idea was precisely to free the artist from abstraction, leading him to perform accessible and intelligible actions; to promote the imagination; to use the dramatic dynamism of sound and image to trigger ideas; to ignore the sensational and instead to observe our social environment and daily life with an intuitive eye-ear; to invite the visitor to come up with their own analysis. This craving for collaboration led Luc Ferrari to create, in 1975, a collective of musicians with Martin Davorin Jagodic, Philippe Besombes, Alain Petit and David Jisse. That year, they worked at Labyrinthe de Violence, a looped audiovisual labyrinth which evoked the violence of contemporary society, and was a reaction to the political situation of the time. It was a multimedia work, spread across four rooms, on the following themes: Power/Profit/Violence/Pollution. Each side of this 2LP set reproduces the sonorization of one of the four rooms in the Museum, automatically mixing in the central space. The same recordings focus on questions of utopia through many of the same themes. As in the rest of his work, pleasure was also at the heart of these pieces. First press limited to 500 numbered copies; gatefold sleeve.
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LP
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8VL 5214LP
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An LP comprised of two stunning works composed by Luc Ferrari during the early 1980s, "Dialogue Ordinaire Avec la Machine" and "Sexolidad", released by the long standing Italian experimental imprint, Elica. Wild and wonderful, this one is absolutely essential for any fan of electronic avant-garde. Needing little introduction, Luc Ferrari is one the great figures in 20th century avant-garde and experimental music. Ferrari was a pioneer, who, for roughly half a century, continuously revolutionized the field of electronic and electroacoustic creative process. Leaving such a sprawling body of work in his wake, much remained unreleased at the time of his death in 2005. Labels and fans have been scrambling to catch up over the years since. Part of their long-standing dedication to Ferrari, dating back to the 1990s, Elica's latest LP, Dialogue Ordinaire Avec la Machine / Sexolidad, takes great strides toward illuminating the composer's remarkable range of diverse approaches to sound. Composed between 1982 and 1984, the first piece showcases Ferrari's interest in tape collage work and sampling, whereas the second piece is one of his less than traditional compositions for a traditional ensemble. "Dialogue Ordinaire Avec la Machine" describes the not so chance meeting between the artists (Ferrari helped by Yannick Gornet) and the mysteriously working machine (a sampler), between the curiosity, amusement, surprise, ineptitude and excitement of the musicians and the machine with its appeal, complexity, stubbornness and synthetic eruptions. A rollercoaster through exploration, seduction, observations, misunderstandings, purrs, moans, gurgles, whooshes, loops and mechanical rhythms from which Ferrari builds his own synthesized folklore, ending with one of the most unusual episodes in the composer's production, the rather graphically explicit and apocalyptic "Love Song With the Machine" (which, to make an unlikely comparison with younger artists, one could imagine the music of the New York duo Suicide mixed by Nurse With Wound's Steven Stapleton). "Sexolidad" is one of Ferrari's most seductive instrumental pieces, representing a journey over the body, in which tonalities and their mix create "a particular harmonic climate [...]" The curious concept and its musical composition result in an extremely enjoyable piece which is continuously intriguing, evocative, dauntless, persuasive and highly satisfying, exquisitely performed here by the Ives Ensemble. Includes 30x30cm four-page booklet with bilingual (French-English) versions of the integrated text from "Sexolidad" and the lyrics to "Love Song with the Machine". Gatefold cover; edition of 300.
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TRANSVERS 014LP
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To celebrate the 90th anniversary of Luc Ferrari's birth, Transversales Disques announce the release of Photophonie - Bandes magnétiques inédites, unpublished archives, spanning 1973-1992, revelatory collection of commercial, commission, and secret music by electroacoustic music pioneer Luc Ferrari. "Photophonie" (1989) features music for the photographic exhibition of Alain Willaume; "Il était une fois" (1973) was Commissioned by the G.M.E.B.; "Trans-Voices" (1992) was curated by the American Center, Paris; and "Leica" (1977) was used in advertisement for the Leica camera. Affiliated with French Radio's Groupe de Musique Concrète, co-founder of the GRM with Pierre Schaeffer in 1958, Luc Ferrari (1929-2005) was a major figure of musique concrète and electroacoustic music, broke away to pave his own path of individualistic expressions of minimalist music, musical theater, field recordings, orchestral music and soundtracks.
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REGRM 022LP
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2022 repress. "Music Promenade" (1964-1969): Electroacoustic Music, world premiere for the Théâtre de la musique, March 16, 1970 "Hétéro-Concert". Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl. The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.
"Unheimlich Schön" (1971): Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden. Voice: Ilse Mengel. "How does a young woman breathe when thinking about something else?" To be listened to at a low volume.
Translations by Valérie Vivancos. Layout by Stephen O'Malley; Photos by Jacques Brissot, ARR. Coordination GRM by François Bonnet. Remerciements by Brunhild Ferrari. Executive Production by Peter Rehberg; Digital transfer by Jonathan Fitoussi and Diego Losa; Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018.
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MANA 006LP
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2020 restock. "L'Escalier des Aveugles, or 'The Stairway of the Blind', was commissioned in November 1990 by Spanish National Radio (Radio Nacional de España). Asked for a piece to premiere as part of the European Day of Music, Luc Ferrari returned with a radiophonic concept that organised his anecdotal music into montage form, sequencing short, elusive narratives in a successive way. The completed composition is formed of thirteen chapters containing a mixture of environmental and synthesised sound, commentary, chatter, and encounters with people and places. Each focuses on a small event within this playbook, and Ferrari notes that each 'in addition to being a realistic photograph, will be the subject of a 'setting to music': fragments of voice and atmosphere will be sampled and will produce musical matter or a 'song'.' The sonic language of Madrid forms the setting to which Ferrari lays out the persistent theme of the piece, that of the composer being guided throughout the city by a young woman. Using a game-like structure (liners for this edition include Ferrari's 'Regles de Jeu', or 'Rules of the Game' which act as a script or score to the piece) the motivation is posed: imagine that one day you are told 'I know a place in Madrid that sounds amazing (or bizarre)', to which you reply 'Let's go to it together.' The recordings toy with the relationships between guide and tourist, translator, director and actress, and masculine and feminine that emerge as Ferrari and the actresses follow this action, documenting the shared experience and connections they make as they visit these places. Six actresses guide Ferrari (and the listener) through locations simultaneously ordinary and sonically rich: the metro; the El Corte Inglés department store where we hear the gossip from changing rooms set against music emanating from the PA; vagabonds declaiming their political stance in the Conde de Barajas plaza; interactions buying apples in a market; the reverberant and spacious halls of the Prado Museum where one actress gives a moving description of her favourite painting - Goya's The 3rd of May 1808. Ferrari replies in French to their comments in Spanish, and there are several self-referential plots, devices, and word games that flirt with the poetics and rhythm of language and sound. A recital of Lorca's poem 'La Casada Infiel' in 'Hommage À Lorca' in amongst the location recordings feels striking, and the call and response of 'La Nouvelle de L'Escalier', where one of the actresses descends the staircase of the blind - a long stone stairway in Madrid proposed to Ferrari as an interesting location to visit during the trip by producer José Iges. She replies to Ferrari's vocal enunciation of the place (and title) in French - 'L'Escalier des Aveugles' - with the place-name in Spanish: La Escalera de los Ciegos. Using this repeated title and image of the staircase of the blind as a symbolic place, a line is drawn to a situational landscape experienced and diffused through snapshots and allusion rather than holistically overviewed, sound conjuring pictures within the imagination. In the sensorial qualities of Ferrari's treatment of emotion and language -- fortified with electro-acoustic motifs and musical properties -- the piece accelerates towards a render that is truthful, beautiful, yet also surreal; somewhere between theatre and reality, a gonzo cinema of the ear. Vinyl cut at D&M from original DAT master tape. Includes a 12-page accordion-style booklet with documents from Luc Ferrari's archive."
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NMN 156LP
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Repressed. Alga Marghen present recordings from Luc Ferrari's Atelier De Libération De La Musique, a collective he created together with Martin Davorin Jagodic, Philippe Besombes, and Alain Petit in 1975 for a series of performances at the Galliera Museum in Paris. It was in those years that Luc Ferrari investigated open forms and created some of the most experimental and elusive works of his entire catalog. "Exercices D'improvisation", first recorded by Brunhild Ferrari with GOL, issued on PLANAM in 2010; but specially "Ou Donc Est-T-On?", a very complex piece forthcoming on Alga Marghen including both "Dance", issued on Alga Marghen on the occasion of the presentations at Centre Pompidou in 2009 and "Ephemere", issued on CD by Alga Marghen in 2010, as well as the "Labyrinthe De La Violence", an audio-visual permanent labyrinth for which Ferrari created four fantastic electronic music pieces forthcoming on Alga Marghen. After these experiences the composer decided to discontinue these open practices for a more controlled work in the studio. And within the "Labyrinthe De La Violence" installation Luc Ferrari conceived a series of electro-visual concerts to be performed by the newly created Atelier De Libération De La Musique. The collective included some of the most creative artists of the time: together with Luc Ferrari playing the electric organ you find on electric piano Martin Davoric Jagodic (whose masterpiece of electronic music titled Tempo Furioso was issued on Cramps in Italy that same year), on synthesizer Philippe Besombes (of Pole fame) and on sax, flute, and clarinet, Alain Petit (who was at the time collaborating with Besombes at the wonderful Besombes / Rizet double LP). These four artists met in February and March of 1975, rehearsing for a series of concerts to take place within the audio-visual labyrinth. It is the previously unheard recordings from these wild rehearsals which make up this incredible LP. The sound of Atelier De Libération De La Musique is a thrilling and overwhelming ride. Rattling, difficult polyrhythms play against droning, pulsing and simmering sonorities. These recordings are human and open, wild and incredibly ahead of their time. Obi strip; Edition of 500 (numbered).
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3CD
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SR 435CD
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Complete Music For Films 1960-1984 is a three-CD set that gathers Luc Ferrari's complete works for films from 1960-1984, including electronic pieces, concrete music made in GRM, and some hybrids including traditional instruments. Very rare pieces, most of which are unpublished (including collaborations with Jean Cocteau and Jean Tinguely), are presented here for the first time, offering a complete scope of the innovative 20th century composer's foray into film music. Complete Music For Films 1960-1984 is released as a part of Sub Rosa's Early Electronic series. Includes two texts by Philippe Langlois, author of Les Cloches d'Atlantis (2012), and Guillaume Contré, rare photograms from films, and some handwritten notes by Ferrari himself.
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SR 429LP
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Unreleased material by Luc Ferrari, released here on Sub Rosa's Early Electronic series. Two tracks from the forthcoming three-CD box set devoted to Luc Ferrari's film music. Not only does the collection reveal a little-known chunk of Ferrari's oeuvre as a composer for the screen, it also sheds light on the ties between cinema and musique concrète, especially during the fruitful period that stretched from the 1960s to the 1980s. Tinguely (1967) is a musique concrète piece for a television program by C. Caspari. From recordings made by the composer in 1966 at an exhibition of Jean Tinguely's work. Once the 110V Liliput engine is turned on, the sculptures start moving instantly in unpredictable ways, as if they had suddenly become frantic. They move in disorganized and excited ways; each action brings them on the verge of self-destruction. Tinguely's "Balubas" illustrate how ephemeral and intangible art and life are. The "Balubas" carry joy and despair, fascination and disillusionment. Dernier Matin d'Edgar-Allan Poe (1964) is a musique concrete piece for a short 33mm black-and-white film by Jean Barral.
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LP
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REGRM 017LP
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In the field of biology Heterozygous (Hétérozygote) means: a plant whose heredity is mixed. It implies that Hétérozygote, composed between December 1963 and March 1964, is an attempt to engineer a language located both on the musical and on the dramatic plane. You could call this music "Anecdotal Music" for if the organization of events is purely musical, their choice suggests situations justified at two levels: the music and the anecdote. Luc Ferrari explains the piece Petite Symphonie Intuitive Pour Un Paysage De Printemps (1973-1974) in 2002: "This electroacoustic music is part of a series that could be called 'imaginary soundscape'. Unlike 'Presque Rien Ou Le Lever Du Jour Au Bord De La Mer (Almost Nothing Or Daybreak By The Seaside)', where the landscape narrates itself, here a traveller discovers a landscape which he tries to convey as a musical landscape. Brunhild and I were in the Gorges du Tarn area. We chose to take a small path that was going up a rocky mountain for about ten kilometres. After a last turn, a totally unexpected landscape opened before my eyes. It was sunset. Before us, a vast plateau spread open with soft curves up to the horizon, up to the sun. The colours ranged from dry grass yellow to purple, in the distance, with the darkness of a few small groves punctuating the space. The almost bare nature was presenting itself to the eye, free from any obstacle. We could see everything. Later, when I recollected this place and the sensations I had experienced there, I tried to compose a music that could revive this memory. The 'Causse Méjean' is a high plateau, about 1000 m high, in the Massif Central mountain range. It is dotted by scattered farms. A few people bring their flocks of sheep home. I thought about evoking this solitary and hazy human presence by including snippets of conversations I had had with some of the shepherds. Human language is woven into the musical texture; the sound of the voice says more than its actually meaning. Once, a shepherd told me '... I am never bored. I listen to the landscape. Sometimes I play my flute and then I listen to the echo responding...' Thinking of him, I used the flute and its echo in my music."
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CD
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ROBOT 039CD
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2008 release. Two historic compositions by the late, great Luc Ferrari on CD for the first time. The program opens with Archives Génétiquement Modifiées ("Genetically Modified Archives"), a work for "memorized sounds" from 2000. This composition (subtitled "Exploitation des Concepts No. 3") was the third in a series of later pieces in which Ferrari revisited aspects of his early concepts and compositional strategies to create wholly new works. The result here is a very bizarre, sensual, and beautifully paced electroacoustic work of aural memories and (re)collections created sounds from Ferrari's vast archive of musical activities. After a short intermission, the program continues with a true highlight of Ferrari's early instrumental work titled Société II from 1967. Subtitled "Et Si Le Piano Était Un Corps De Femme" ("And If The Piano Were the Body of a Woman") (for four soloists and 16 instruments), this composition appeared opposite Presque Rien on the legendary 1970 Deutsche Grammophon LP. Société II may be viewed as an erotically charged piece of musical theater in which the soloists compete for the attention of a woman (the piano). This concerto, with its gestures and a fantastic kaleidoscope of styles and color, shows the extravagant qualities of the piano in its "harmony, imagination, and brutality." Packaged in a full-color digipak with a 20-page bilingual (French/English) booklet featuring Ferrari's early artwork, notations, and program notes, along with an extensive commentary by Jim O'Rourke and Jay Sanders. Remastered sound with audio restoration by fellow INA-GRM alumnus Jean Schwarz. A wonderful glimpse into the world of one of the most legendary, unique, and inspiring musical figures of the 20th century.
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DVD
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ELICA 4290DVD
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2008 release. The first DVD release on Elica is a beautiful 50-minute portrait of composer Luc Ferrari made by his friend Jacqueline Caux with Olivier Pascal, which is at the same time fully informative and acutely representative of Ferrari's spirit. Features Elise Caron and Luc Ferrari going through archive documentation, intriguing dialogues, invented autobiographies, music performances, evocative installations, sidewalk accidents, encounters with sound artist Christof Schläger and musician eRikm, and more. Documenting the work of one of the most groundbreaking and seductive composers of the 20th century, this film also shows Luc Ferrari's "extremely libertarian personality: his spontaneity, his inclination towards hedonism and sensuality, his curious and open character, his rejection of all kind of power and of all stable position within institutions, his pronounced taste for jeux, his sense of self-derision and his ferocious refusal of all dogmatism." Jacqueline Caux is a writer, film-maker, and organizer of live events. She is the author of the essential Luc Ferrari interview book Almost Nothing with Luc Ferrari (2002), as well as books on Anna Halprin and Louise Bourgeois and several experimental films and remarkable documentaries, including the highly acclaimed Cycles of the Mental Machine (2006) on Detroit techno, Tales from the Torn Symphony (2010) on the performance of Ferrari's Symphonie dechirée, and Man from Tomorrow (2014) on Jeff Mills. Olivier Pascal has collaborated with, among others, director Claude Duty. Original French version with English subtitles; NTSC region-free DVD in large format digipak cover with notes in French and English by Jacqueline Caux.
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PLANAM 015LP
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2010 release. Luc Ferrari conceived this work in 1977 as a sequence of seven individually or collectively improvised exercises for tape and any instrument or group of instruments. Never performed before, Exercices d'improvisation have been released by the GOL collective and issued on LP by Planam. The seven exercises follow each other in a suite of growing intensity where GOL's acoustic and electric instruments react to Luc Ferrari's tape, lively re-interpreted by Brunhild Ferrari: from a more meditative form, the music turns into free mental spiraling sections to finally culminate in a live musique concrète drama. The tracks were recorded at Ferrari's Atelier Post-Billig on April 12th and 13th, 2010, a few days before the world premiere performance at La Maison Rouge in Paris. Exercices d'improvisation on one hand presents a new perspective on Ferrari's music and on the other pays a panorama-like tribute to his rich and eclectic corpus; somewhere between "Tête et Queue du Dragon" and "Tautologos" with a touch of "Danses Organiques." GOL was formed in 1988 in Paris by Jean-Marcel Busson, Frédéric Rebotier, Ravi Sharda and Samon Takahashi. On this record GOL play flutes, electric guitar, bass guitar, melodica, janotron, ocarina, nagara, electric guembri, vocoder and message box. This LP is the fourth in the "Gollaboration" series, after records by GOL with Dumitrescu/Avram, with Charlemagne Palestine and with Charles Hayward of This Heat fame. The front sleeve shows a four-color wild collage by the French artist, film-maker and Ferrari's collaborator Jacques Brissot, based on photo sessions done by Myriam Tirler, who also shot the back cover and inner sleeve images presenting GOL members and Brunhild Ferrari in Kagel-Exotica-like appearances. Includes an insert with the complete score by Luc Ferrari. Please note: this previously-unpublished work revealing a hidden part of Luc Ferrari's poetics is not included in the INA 10CD box set. Only available on this LP edition.
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CD
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NMN 081CD
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2022 restock. Alga Marghen presents Éphémère I & II (for tape, or to be played with various instruments) -- two previously-unpublished masterpieces which represent for several reasons a very specific moment in the creative life and catalog of Luc Ferrari. Even if Ferrari's perfect skill in creating some of the most beautiful sonic works ever is now well known to the large audience appreciating his music, the undetermined character marking the two works presented here is quite surprising. Luc Ferrari was tempted in the mid-1970s by the idea of leaving the final realization of these pieces open to the performer's intervention (a perspective he decided not to develop in future researches). "Exercises d'Improvisation," a score conceived in 1977 and unreleased for almost 35 years (first recorded this year by the GOL collective with Brunhild Meyer-Ferrari for an LP to be issued on PLANAM), directly comes from the two works presented here. Éphémère I' (or "L'ordinateur ça sert à quoin?" i.e. "What's the use of computers") is a 27-minute piece for tape only, created in 1974, conceived as a kind of electronic drone superimposed by fragments of multi-language whispered voices that creates the thrilling effect of a sea-like continuum. "Éphémère II" (or "Lyon 75" after the only recorded realization) is a 51-minute tape piece with guitar improvisation. The electronic repetitive structure reminds of some of the most radical works of American composer Terry Riley, while the guitar sounds, first resulting as live manipulated pointillistic impulses, develop into a blues sonority, superimposing the tape drone and creating a heavy psychedelic atmosphere of the most sublime kind. The end of this long suite leads us back into more abstract and live electronic sonorities. This very intense work can be placed in a context between scored music and totally improvised music. Housed in a tri-folded digipack sleeve. Please note: these two previously-unpublished pieces revealing a hidden part of Luc Ferrari poetics are not included in the INA 10CD boxset. Only available on this CD edition.
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WER 6775
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"Luc Ferrari may not be the most famous name in the Studio Reihe Neuer Musik series, but his music had a profound impact on music of the time. His mixing of magnetic tape and instruments, inspired by Varèse, was combined with pioneering work in the area of ambient music and the use of natural sounds." Performed by Gérard Frémy (piano).
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2LP
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REGRM 005LP
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2017 repress. Recollection GRM presents four musique concrète masterpieces by French electro-acoustic innovator Luc Ferrari -- all of the Presque Rien's collected together in one vinyl set for the first time. Presque rien n°1, le lever du jour au bord de la mer (1967-1970): "Following the complete disappearance of abstract sounds, we can regard this piece as a sonic snapshot and the culmination of an evolution. This is a realistic rendering (as faithful as possible) of a fishing village waking up. The first idea of minimalism." Presque rien n°2, ainsi continue la nuit dans ma tête multiple (1977): "Description of a landscape at night that a soundman attempts to define through microphones, but the night surprises the 'hunter' and creeps inside his head. It then becomes a double description: the inner landscape transforms the outer night and by composing it, adds its own reality (a fantasy of reality) or, perhaps, a psychoanalysis of his nightscape..." Presque rien avec filles (1989): "Within paradoxical landscapes, a photographer/composer is hidden while girls are having a sort of picnic on the grass. Without being aware of it, they offer him the spectacle of their intimacy." Presque rien n°4, la remontée du village (1990-1998): "I always hesitated before releasing 'Presque rien.' For instance, it took two years for the first one to come out and things went on this way. The fourth one took nine years of hesitating. But here it is. Perhaps because this is a real 'presque rien' fake where reality and lies mix. This is the ascent into the old town of Ventimiglia." --Luc Ferrari; Produced by Peter Rehberg. Layout: Stephen O'Malley. Cut by Rashad Becker at Dubplates & Mastering, Berlin, October 2012.
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BLUE 019CD
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2023 restock. "Les Arythmiques is one of the final works created by electroacoustic composer Luc Ferrari. A starting point for the piece was the challenge to represent in sound the jolt of electricity that had been sent across his heart to treat his arrythmia. The sound that he finally crafted to his satisfaction is the crackling, vaguely terrifying one that jolts Les Arythmiques into life and reappears throughout to interrupt the proceedings at the most unlikely moments. The sound environment that the electrical shocks interrupt is that of the EKG's regular beeps, the distant tolling of a church bell, and even more distant sounds resembling birds. In other words, it's the sound of enforced rest, of a patient immobilized. This relatively small repertoire of concrete sounds is examined with a disorienting repetitiveness that brings to mind the mobile-like quality of many of Ferrari's electroacoustic works. Here that quality is combined with the lightning-quick stabs associated with Erik M and Otomo Yoshihide, two artists with whom Ferrari collaborated in his final years. Les Arythmiques ultimately moves beyond the hospital room by delving into an archive of remembered sounds. Murmurings in Italian give way to the English-language interjection 'Are y'all familiar with the parts of a saddle?' -- the composer's reflection on material gathered in the American Southwest for his Far-West News series. Ferrari's characteristic humor is here, particularly in the superimposition of diverse sound environments. But Les Arythmiques also possesses a nagging unease, a persistent gravity that both listener and composer cannot shake. Les Arythmiques was included as part of the ten-CD box set Luc Ferrari: L'Oeuvre Électronique (Ina GRM). This is the first time that it has appeared as a separate release."
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SR 252CD
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This is the second of three Sub Rosa releases of instrumental works by this important artist. Luc Ferrari is considered one of the most legendary musical figures of the twentieth century, whose work and aesthetic continues to influence several generations of contemporary composers. Director of the Groupe de Recherche Musicales which he established with Pierre Schaeffer in Paris from 1958-1966, he is also one of the masters of musique concrète who influenced and expanded the genre with electro-acoustic instrumentation. Right from the start, the idea had been to release three very different CDs: one hörspiel, one of concrete music (new and older pieces) and one CD of instrumental works. Les Anecdotiques was the first step: a vast sound-film of more than an hour that explores in 15 steps the intensity of re-composed sounds from his continual travel around the world, with electronic additional structures. This album is the second step -- one that offers a retrospective -- the previously unreleased "Promenade Symphonique dans un Paysage Musical" from 1976-78, the final "Presque Rien #4" and a fresh reflection dating from the last months of 2002, "Saliceburry Cocktail," a large-scale composition exploring the idea of hideout, scrambled listening -- a tortuous entanglement of concrète and electronic. The forthcoming third and final release will be three recent instrumental compositions for electronics, piano and viola which were recorded under Luc's supervision -- the last works he ever recorded, as he passed away in August 2005.
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ANGLE 008CD
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"Luc Ferrari is one of the most legendary musical figures of the twentieth century, whose work and aesthetic continue to influence several generations of contemporary composers. Among the founders and pioneers of the 'Groupe de Recherche Musicale', he is recognized to be alongside P. Schaeffer and P. Henry, one of the great masters of concrete music. He is also among the first to influence the 'musique concrète' with elements from other fields of electronic and acoustic music. Educated by Honegger and Messiaen, some steps, as an example the research work in Darmstadt or in Colony or the crucial meeting with Varèse, remain however fundamental. From Varèse, above all, Ferrari learned a fundamental lesson in his search: to consider and to accept the sounds 'for themselves'. The sounds must retain their own original identity, as an abstract quality. This has then been inserted in works in which the sound folds towards a form of narrative, and towards something, eventually, that has been called 'an imaginary musical story'. In this 'story' voices, sounds, orchestral sound, magnetic tape reach levels of extraordinary elaboration and effectiveness. Besides his work in the electronic and electro-acoustic area, Ferrari has composed instrumental music, ranging from solo for pianoforte, to works for orchestra that have obtained wide recognition. We also cannot forget his works for radio and television. As some have suggested, Luc Ferrari among many 'excellent' researchers holds an important position, because of his peculiar training, not academic, often ironic, that he declares to be characterized by 'intelligence, sensuality, extreme sonorous realism, not serious analytic ability, attention to social and the love for the good kitchen'. With recent publications with some labels (Tzadik by J.Zorn or Blue Chopsticks by D. Grubbs) L. Ferrrari is enjoying a deserved 'rebirth'). In the Milan concert L. Ferrari performed with Erikm, one of the most interesting musicians to work with new technologies."
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SR 207CD
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"Even if his art is historically linked to the musique concrète school, Luc Ferrari (born in Paris in 1929) is above all a man with a freedom of spirit rarely equalled in the history of music, who has repeatedly left what he excelled at for new territory still unexplored; thus he is par excellence the composer of new fields of investigation. Ferrari joined the Groupe de Musique Concrète in 1958 and remained a member until 1966; he collaborated with Pierre Schaeffer in setting up the Groupe de Recherches Musicales (1958). By 1963-4 he had begun Hétérozygote, an extended tape piece in which ambient sounds unfold in narrative form, suggesting a dazzling variety of incidents, all unexplained. He was Professor of Composition at Cologne's Rheinische Musikschule from 1964 to 65. In 1965 and 1966 he produced Les Grandes Répétitions, a series of television documentaries with Gérard Patris on the subject of contemporary music, specifically Olivier Messiaen, Edgard Varèse, Karlheinz Stockhausen, Hermann Scherchen and Cecil Taylor. Luc Ferrari's diverse work and aesthetics continue to have a singular impact on the young generations of electronic musicians and artists. The corpus of his work is immense and includes hundreds of compositions of all kinds. Les Anecdotiques -- his last composition -- is a vast sound-film of more than an hour who explores in 15 steps the intensity of re-composed sounds from his continual travel around the world -- with electronic additional structures."
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BLUE 008CD
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2023 restock. First ever release of a large scale electroacoustic piece five years in the making that revisits numerous periods from Ferrari's five decades of work. From the composer's liner notes: "I have been composing a new series of works under the general title Exploitation des Concepts. The point is to take concepts I have been experimenting with throughout my entire life as a composer, and to put them to use in every possible direction: in instrumental as well as electroacoustic music, in video, in multimedia installation, in new technologies as well as old ones.... These Exploitations go in all directions: the Tautology, superimposed cycles, the minimalism of the Presque Rien series, architectures of chance, anecdote, narrative, everyday sounds, arte povera . . . souvenirs . . . etc. -- all these concepts that have always preoccupied me but which until now I hadn't really exploited. So we find images of my childhood, my street, my subway; places I passed through and which struck me enough to record them, certain villages in Italy or the sea in Portugal; of my present, too: workplaces, my souvenirs, my house. The Cycle des Souvenirs also means that all the elements are structured in cycles which, when superimposed, produce chance encounters." -- Luc Ferrari.
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BLUE 001CD
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2023 restock. "Ferrari -- along with Pierre Schaeffer, Pierre Henry, François Bayle, and others -- is one of the pioneers of the particular style of tape music known as 'musique concrète'. More significantly, he must be counted as one of the most complexly, most idiosyncratically compelling of post-War composers. Ferrari has time and again ranged far afield of musique concrète, and Interrupteur/Tautologos 3 is one such foray into instrumental music. But what a setting-forth! Mon dieu! These particular realizations came about through Ferrari's directed improvisations of Konstantin Simonovitch's ensemble, and the recordings were originally released in 1970 by EMI in their 'Perspectives Musicales' series. 'Interrupteur' is largely static music, a music of long tones periodically interrupted by aleatoric events. If it references musical minimalism (particularly Terry Riley, Steve Reich, and Robert Ashley), this surely counts as an intuitive, very personal result. 'Tautologos 3' pursues the idea of the superposition of cycles of different lengths that, once set into motion, will continually result in new events. Conventionally understood, a tautology is a redundancy in which the same meaning is expressed in different works; the same things are 'said' repeatedly in 'Taulologos 3', but as the context shifts through the displacement of the various cycles, how could there be no gain, no furtherance of both logic and sensation? In a world: exhilarating.""Interrupteur" is from 1967 and features the following instrumentation: English horn, clarinet, bass clarinet, French horn, trumpet, violin, viola, cello, two percussions, two electric organs. It is one of the most outright powerful and devastating recordings within the avant garde realm. "Tautologos 3" is form 1970 and features: flute, oboe, clarinet, trumpet, trombone, viola, cello, double bass, electric guitar, electric organ & vibraphone.
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